APPJAG members briefing paper for the debate on Covid-19 and the Cultural and Entertainment Sectors on Tuesday 2 March

All Party Parliamentary Jazz Appreciation Group briefing paper for the debate on Covid-19 and the Cultural and Entertainment Sectors on Tuesday 2 March 2021.

“Everyone’s running on empty, but the will and passion to survive are still there; the means to achieve it has to be the goal. This cannot be done without a national strategy, fairly framed and guided by experienced professionals whose advice would be ignored with dire and irretrievable consequences”
Stuart Johnson, music programme assistant at Zeffirelli’s Ambleside

1 Where are we now?

Covid-19 has had a devastating effect on the cultural economy. In 2019 arts and culture contributed £10.47 billion to the UK economy of which the UK music industry contributed £5.8 billion The Night Time Industries Association estimate that the night time economy (nightclubs, pubs, bars, and live music venues) contributes £66 billion to the UK economy…………………………..

Read briefing paper here: APPJAG members briefing paper for the debate on Covid-19 and the Cultural and Entertainment Sectors on Tuesday 2 March 2021.

All Party Parliamentary Group for the Night Time Economy – Report On Impact Of Covid-19 On UK Nightlife

All Party Parliamentary Group for the Night Time Economy

Report On Impact Of Covid-19 On UK Nightlife

Read the report Here 

40 MPs tell Chancellor and PM, act now or see ‘extinction’ of UK Nightlife

The All Party Parliamentary Group (APPG) for the Night Time Economy, a cross-party group of more than 40 MPs, has today published the findings of its recent inquiry into the impact of Covid which warns that the sector is at risk of ‘extinction’ unless the  Government takes urgent action. The MPs urge the Prime Minister and Chancellor to bring forward a sector-specific grant package and a detailed roadmap for reopening the sector to avoid ‘irreversible losses’ that would create ‘ghost towns’ across country and hinder the wider economic recovery.

The report, entitled ‘Covid-19 and UK Nightlife’, looked at the impact of the pandemic and Government support for businesses in the night time economy, including night clubs, bars, pubs, live music venues, festivals, and supply chain businesses. It involved a survey which received over 20,000 responses from consumers, employers, employees, and freelancers in the sector.Key findings of the survey included:

  1.  85 per cent of people working in the night time economy are considering leaving the industry
  2. 78 per cent of all employees in the sector had at some point been on furlough
  3. Businesses in the night time economy had on average made 37 per cent of their total workforce redundant
  4. In the second half of 2020, businesses in the night time economy traded at an average of 28 per cent of their annualised pre-Covid turnover
  5. Only 36% self-employed nightlife workers have been able to claim the Self Employment Income Support Scheme (SEISS).In addition, the report includes numerous detailed personal testimonies of those in the sector describing how the pandemic has affected them.

Outside of periods of forced closure, night time economy businesses have seen numerous and changing restrictions on their ability to trade, including curfews, social distancing measures like the ‘rule of six’, the loss of vertical drinking, and requirements for a ‘substantial meal’ with alcohol. Businesses have faced significant costs and investments in adapting to new conditions, and many, including a majority of nightclubs, have been unable to trade at all.

The inquiry examined written submissions from hundreds of businesses and local authorities, including the Greater London Authority and Greater Manchester Combined Authority, key trade bodies UK Hospitality and UK Music as well as the Department for Business Energy and Industrial Strategy (BEIS) and the Department for Digital, Culture, Media, and Sport (DCMS).

The joint DCMS-BEIS submission recognised the importance of nightlife to the economy as a whole, noting that after the 2008 financial crisis the sector “helped drive the UK’s recovery more generally.” Despite this, the inquiry found that economic support for the night time economy had been “insufficient”, containing significant gaps.

Jeff Smith MP, Chair of the APPG and a former self-employed DJ, warned that the prospect of many night time economy businesses going bust would leave town and city centres across the country looking like ‘ghost towns’, noting the important role these spaces play in local economies and communities.
He commented:

“Our world-leading night clubs, pubs, bars, and live music venues are cornerstones of our communities. They drive so much economic activity both locally and nationally, and bring hope, joy and entertainment to millions across the UK. Our findings today reveal this industry is on its knees, in desperate need of additional support from the Government and a concrete plan for reopening. Without these interventions, many of these viable businesses will go under, leaving city and town centres resembling ghost towns. If the Government is serious about its ‘levelling up’ agenda it must act now to save this sector and avoid untold damage to the social fabric of this country.”

Some of the key recommendations for Government included in the report were:

  1. Extending the furlough scheme until businesses can operate without restrictions, and extending VAT and business rates relief through 2021
  2. Producing a roadmap for reopening late night venues based on the vaccination programme and mass testing
  3. Expanding eligibility for Government Grant Schemes and proving a sector-specific support package
  4. Providing a Government-backed insurance schemes and solutions to spiralling commercial rent arrears
  5. Introducing a Treasury-backed scheme to boost demand once restrictions are eased
  6. Appointing a UK Government Night Time Economy advisor

Michael Kill, CEO of the Night Time Industries Association, commented:

“We are pleased to support the APPG for the Night Time Economy when it became clear our industry’s needs weren’t being heard by policy makers. But it gives me no pleasure today to announce the findings of this report, which confirm the devastating impact that the pandemic has had on UK nightlife.
“Every day I speak with the dedicated people that make up this industry – from artists to engineers, bar staff to security, and production to promoters – they have shown great resilience in the face of adversity.

“But resilience only gets you so far without the required support. We need more assistance and a detailed plan for reopening now. Otherwise, much of what defines a night out in the UK will be lost forever.”

Arts Council England funding of National Portfolio Organisations (NPO) for jazz 2014/2022

Arts Council England funding of National Portfolio Organisations (NPO) for jazz 2014/2022

Set below in Table 1 is the funding of the National Portfolio Organisations for 2014 to 2022. Please note only those organisations are included whose activity is a give or a take a percent, 100% jazz activity. They are the core jazz National Portfolio Organisations. Whilst the Turner Sims and other organisations such as the Huddersfield Contemporary Music Festival and Bristol Music Trust do an invaluable job, jazz is merely a portion of their regular programming and not their core activity. As Table 1 shows the increase in Grant in Aid for core jazz organisations is 2.02% on average. Two NPO’s received increases of 36.5% (Jazz Re:freshed) and 66.2% (Manchester Jazz Festival.

The National Youth Jazz Collective had a “technical reduction” – National Youth Jazz Collective is a National Youth Music Organisation (NYMOs). For 2015-2018, NYMOs were jointly funded by Department of Education and Arts Council England. For 2018-2022, NYMOs will receive their Arts Council England allocation as National Portfolio funding. NYMOs will receive their Department for Education funding via a restricted separate grant.

In 2017/18 only 30.2% of the funds went to Jazz NPOs outside of London. Jazz NPO’s Organisations based in London received 69.8% of the total funding of £1.678 million.

In 2018/19 there was a slight increase as 38.4% of the funds went to Jazz NPO’s outside of London. Jazz NPO’s Organisations based in London received 61.6% of the total funding of £1,712,870.

In 2018/19, Opera received a total of £57.1 million of which 32.5% will be spent outside of London. Classical music will receive £19 million of which 55% is allocated to the English regions. For the avoidance of doubt 3.4 million people attend classical music concerts, 2.1 million people attend jazz concerts and 1.7 million people attend opera.

To table for ACE funding of Jazz NPOs please click on the table below


Table 1. Source: Arts Council England

Notes to Table 1
1 Jazz Services funds for 2014/15 are net of the National Youth Jazz Orchestra that was a NPO under the umbrella of Jazz Services.

2 Jazz North in 2014/15 whilst technically not a NPO was funded as such

Chris Hodgkins
27th June 2018

Jazz musicians and volunteer promoters – falling between the cracks – the DCMS response – round three

The story so far. APPJAG wrote to the Secretary of State for Digital Culture Media and Sport on the 11th August 2020 and received a reply on the 24th September. The response failed to address any of the issues raised. APPJAG replied on the 5th October 2020. The correspondence can be seen here: Response and reply to the DCMS of the 24th September and the 5th October 2020

On the 14th December APPJAG received a response that regrettably failed to address the issues that had been raised. APPJAG responded on the 17th January 2021.

The DCMS response can be seen here:

Response from the Rt Hon Caroline Dinenage MP Minister of State for Digital and Culture of 14th December 2020

A further response from APPJAG to the DCMS can be seen here:

Letter from APPJAG to Rt Hon Caroline Dinenage MP Minister of State for Digital and Culture 17th January 2021


The Trade and Cooperation Agreement – How to help musicians work in the EU after BREXIT

The Trade and Cooperation Agreement – How to help musicians work in the EU 

UK music industry generated £2.9 billion in exports in 2019, a 9% increase from £2.7 billion in 2018.

Most musicians and performers rely on touring and performing in the European Union to make a living. Musicians, and other creative and cultural workers, have specific needs and it is crucial that visa and customs rules post-Brexit take this into account.

An inability to maintain these exports due to restrictions on working in the EU will seriously damage Britain’s image and reputation as well. It will also lead to an increase in unemployment and reduce the sector’s contribution to the economy.

To see the full briefing paper to MPs and Peers please go to:The Trade and Cooperation Agreement How to help musicians work in the EU

To see abbreviated version please go to: The Trade and Cooperation Agreement How to help musicians work in the EU short version

Submission to the Digital, Culture, Media and Sport Committee inquiry into the “Economics of music streaming” on behalf of the All Party Parliamentary Jazz Appreciation Group.

APPJAG is submitting evidence to the inquiry to ensure that musicians and composers achieve equitable payment for their music and to ensure a level playing field through regulation will enable ethical business models to become the norm.


  1. The dominant organisations are the likes of Spotify, Apple Music and Amazon Music. They are effectively a mass market with millions of subscribers.
  2. The payment system used on the major streaming services is the “pro rata” model. With this system, the total revenues are divided and distributed according to the share of total streams for the given payment period.
  3. For a jazz musician to earn the average household disposable income (after taxes and benefits) of £30,800 from Spotify for the financial year ending 2020, their music would have to be streamed 10.1 million times.
  4. Both jazz and classical music are disadvantaged. On a major streaming service a 10 minute long symphony movement or a 7 minute long jazz recording is paid the same amount as a 31-second instrumental hip-hop interlude.
  5. An analysis of the total of monies accruing to record labels, performers and the collecting societies from the monthly breakdown of a French streaming company; showed the record labels taking the lion’s share of 75.7%.
  6. Playlists and curators whilst appearing to provide a service to consumers are having an insidious effect on music especially with regard to non featured musicians and bands. The impact of playlists, curators and ‘play listing’ by Spotify has pretty clearly shown that whether by design or not, the big streaming platforms are creating winners and losers while they are driving what some characterize as a “revival” of the music entertainment industry.
  7. The complexities of streaming royalty calculations and the fact that streaming has resulted in the ‘unbundling’ of albums means that musicians receive a fraction of the revenue once received from physical album sales.
  8. The underlying malaise is that digital distribution has allowed a scale of mass consumption of music hitherto unknown and in the process lowered people’s expectations of the price they should pay.
  9. There is a crucial need for UK copyright protection with teeth.
  10. With copyright protection there needs to be greater transparency amongst record labels, music publishers, streaming platforms and other licensing entities so that creators can effectively use their right to audit music companies they are signed to or who administer royalties for them. Furthermore assignment of rights to a music company should have a maximum term, after which the rights should automatically return to the creator, who could decide to extend or place their rights elsewhere.
  11. Finally there needs to be a programme that educates all types of music creators regarding their rights and the operations of the music industry.
    Currently revenues are paid out under the pro rata system. A change in the way revenues are distributed to a “user-centric payment system” – or UCPS would be far more equitable. Under this model, subscriber revenues are distributed according to what the individual user has spent their time listening to.

Please see for the full report: appjag-submission-to-the-dcms-committee-inquiry-into-the-economics-of-music-streaming-15th-november-2020

Submission to the Digital, Culture, Media and Sport Committee inquiry into the “The future of UK music festivals” on behalf of the All Party Parliamentary Jazz Appreciation Group

APPJAG is submitting evidence to the inquiry to ensure that UK music festivals and jazz festivals in particular are given the support and resources to enable them to survive and thrive up to and when normality is resumed.


Reference 1 – UK Music festivals generate and contribute £6 billion to the economy. Of crucial importance is music tourism contributing £4.5 billion to the economy in 2018. Jazz Festivals are an important part of the UK jazz Scene. The number of jazz festivals in the UK ranges from 91-200. Music and jazz festivals have a number of beneficial impacts that are social, political, creative and economic. The multiplier effect of festivals is such that, for example,  £1 spent at Manchester Jazz Festival will generate £6 for the local economy.

Reference 2 – Without financial support 30% of the UK festival scene will not survive into 2021. As the festival sector is a £6 billion contributor to the economy that will transform it into a £4.2 billion contributor with a corresponding impact on jobs and local economies.

Reference 3 – The Association of Independent Festivals has made a number of recommendations to the UK Government that include business support packages, VAT breaks on ticket sales for a minimum of 18 months and social distancing measures.

Reference 4 – Audiences need to be confident that they can attend a festival safely and that there are facilities or support for testing, which is achievable through rapid testing and track and trace.

Reference 5 – Detailed evidence will be provided by other organisation such as UK Music, Association of Independent Festivals and Association of Festival Organisers.

Reference 6 – More and more people are motivated by the social aspect of a live event. Another growing concern for attenders is “eco impact”. There is a growing preference for people to attend cash-free music events, digital payments could revolutionise the events industry.

Reference 7 – The Association of Independent Festivals has set up a number of initiatives to address these issues such as no single use tents, campaigns to eliminate all single use plastic by 2021, a Festival Fuel Tool – festivals organisers can now use a free online tool to check their energy performance in less than a minute and campaigns to raise awareness of legal highs.

Please see for full report: appjag-submission-to-the-dcms-committee-inquiry-into-the-future-of-uk-music-festivals

Jazz musicians and volunteer promoters – falling between the cracks – and no parachute – the DCMS response

APPJAG wrote to the Secretary of State for Digital Culture Media and Sport on the 11th August and received a reply on the 24th September. The response failed to address a single issue raised by APPJAG.

The DCMS response can be seen here:

The response from APPJAG can be seen here:

Jazz musicians and volunteer promoters – falling between the cracks

Whilst this paper deals with jazz musicians and volunteer promoters it would be equally applicable to many genres from folk to brass bands and from indie music to rap.

This paper reinforces the findings of the Impact of Covid-19 on DCMS Sectors: First Report by the select committee for Digital Culture Media and Sport. MPs say the response of the Department of Digital, Culture, Media and Sport has been hampered by the Department’s fundamental misunderstanding across Government of the needs, structures and vital social contribution of sectors such as the creative industries. The Report finds the loss of performing arts institutions and cultural workers would put at risk the Government’s ‘levelling up’ agenda and reverse decades of progress in cultural provision, diversity and inclusion.

The paper highlights the problems experienced by jazz musicians and jazz promoters in terms of funding and access to funds for self-employed musicians who are falling between the cracks.

The £1.5 billion recovery funding for arts and culture is to be welcomed along with the lowering of VAT to 5% for concerts. Regrettably, there are concerns about the delivery of the fund and the criteria that have been set by the DCMS. The fund is designed to support the survival of cultural and heritage organisations that are of international or national cultural significance, or that contribute to the levelling-up agenda, and that are at risk of no longer trading viably by the end of this financial year. Swathes of individuals and volunteer organisations crucial to a healthy music seen will fall through this particular crack. Bands and musicians do not suddenly arrive at the O2 Arena there is an infrastructure that assiduously works to get them there and if that infrastructure is left to flounder through a lack of investment, the UK will lose its competitive edge, in terms of music development, music exports and “soft power”.

Who determines who is of national cultural significance? As the Arts Council is delivering the fund, there is a potential for a conflict of interests between Arts Council funded National Portfolio Organisations (NPOs) and all the many organisations who do not receive funds form Arts Council England who will all be applying to the fund. The Arts Council to its great credit has produced full reports on the expenditure of their emergency funds to date of £64.8 million invested in 9,666 people and organisations plus £33 million to 196 National Portfolio organisations. However a “snap” audit is essential of those individuals and organisations who have received funds plus the title of the emergency funding scheme that provided these funds. This audit is crucial in order to identify those people and organisations that are falling between the cracks.

There is a problem with the ministerial task forces – they are not joined up. The arts are in the hands of the DCMS, whilst pubs and restaurants are with the Department for Business, Energy and Industrial Strategy. Pubs and restaurants enable a great deal of music making, entertainment, maturing circuits, comedy clubs. A prima facie example is the Pizza Express restaurant chain.

There is a flaw in the Entertainments and Events Working Group comprising 49 organisations. 69% of the organisations are based in London and 31% outside of the M25. Of the 49 members only two organisations are representative of diverse communities.

It is crucially important that with a new post-Covid and Brexit landscape a national arts plan is developed that ensures that the arts and culture play a part in healing the nation and drives the export of arts and culture. To make this happen the arts requires a reformation in arts funding with an organisation that can deliver a rolling, realistic and coherent national plan for the arts, entertainment and culture where under-represented musics and art forms finally get a place in the sun.

The Government should retain the 5% VAT rate for the performing arts and entertainment for the long term to assist recovery..

APPJAG has wrote to the Secretary of State for Digital Culture Media and Sport on the 15th August and is waiting for a reply and a response.

The letter to the Secretary of State and the paper “Jazz musicians and volunteer promoters – falling between the cracks” can be downloaded here:

Letter from APPJAG to Rt Hon Oliver Dowden CBE MP 11th August 2020

Jazz Musicians and volunteer promoters – falling between the cracks

Recipients Announced For 2020 Parliamentary Jazz Awards

Recipients Announced For 2020 Parliamentary Jazz Awards

The recipients of the 2020 Parliamentary Jazz Awards were announced on Tuesday 30th June at 20:00

The Parliamentary Jazz Awards are organised by the All Party Parliamentary Jazz Appreciation Group (APPJAG) with the support of PizzaExpress Live. The Awards celebrate and recognise the vibrancy, diversity, talent and breadth of the jazz scene throughout the United Kingdom.

The award categories reflect the ever-increasing scope of talent from within the UK’s jazz scene: Jazz Vocalist of the Year; Jazz Instrumentalist of the Year; Jazz Album of the Year; Jazz Ensemble of the Year; Jazz Newcomer of the Year; Jazz Venue of the Year; Jazz Media Award; Jazz Education Award; and the Services to Jazz Award.

John Spellar MP, Co-Chair of APPJAG, said: These Awards demonstrate the wealth of talent and commitment that exists in the British jazz scene. Now in its 15th year, the Parliamentary Jazz Awards honour the best of British jazz. MPs and Peers in the All Party Group are delighted to work with, and we are extremely grateful to PizzaExpress Live for supporting the event.”

Chi Onwurah MP, Deputy Chair of APPJAG: “This has been another really strong year for the Parliamentary Jazz Awards in terms of talent and nominations. The well deserved recipients are a veritable who’s who of names that have made a real impact on the music and helped make the UK one of the world’s leading jazz territories”.

The full list of recipients is as follows:

Jazz Vocalist of the Year

Cherise Adams-Burnett

On the cusp of releasing her own music, Cherise Adams-Burnett is quickly becoming recognised as a fiercely talented vocalist and musician.

Since graduating from Trinity Laban Conservatoire of Music in late 2017, Cherise has performed at many of the UK’s most prestigious venues and festivals, ranging from the BBC Proms at The Royal Albert Hall to the Kennedy Centre in Washington D.C, along with Festival performances including the UK’s Love Supreme.

Owing much of her earlier development to the highly-regarded educational group Tomorrow’s Warriors, nowadays she is glad to be involved in developing younger musicians through the same program as a both tutor and workshop leader.

Jazz Instrumentalist of the Year

Sarah Tandy

Sarah Tandy is a unique voice within the new UK jazz generation. Coming from a background which encompassed vintage jazz LPs, classical music and Coleridge poetry, her music has been shaped by London’s thriving and diverse live music scene, where jazz is the shared language in an ever-shifting musical landscape. She has swiftly risen to become one of the most in-demand players of her generation, with stints on keys for Jazz Jamaica, Nu Civilisation Orchestra, Maisha, Where Pathways Meet, Camilla George, Nubya Garcia, Nerija, Daniel Casimir, Binker Golding, Clark Tracey and many more. She is also a member of Ronnie Scott’s house band, the W3 Collective. Festival Appearances include Love Supreme Festival, Berlin Jazz Festival and two performances with her trio at the Ronnie Scott’s International Piano Trio Festival supporting Robert Glasper. In an earlier incarnation, she has also appeared as a classical soloist with the BBC Symphony Orchestra.

Jazz Album of the Year

‘Finding Home’ – Kate Williams Four Plus Three meets Georgia Mancio

Jazz pianist/composer Kate Williams was born in London into a musical family (her father is the guitarist John Williams, her mother a classical pianist). A recipient of the John Dankworth Award For Talent Deserving Wider Recognition, she has gained a distinctive reputation as both a writer and performer.

Kate has released several previous CDs, each one to critical acclaim, including ‘Made Up’ (with her septet) and ‘Smoke And Mirrors’ (with tenor legend Bobby Wellins). Both were in Mojo magazine’s top ten jazz albums in 2011 and 2012 respectively. Kate is a founder member of Way Out West, a collective of jazz musicians based in West London which has been programming regular gigs for over ten years. Kate is also an experienced educator and is currently teaching on the jazz degree courses at the Guildhall School of Music And Drama, and Middlesex University.

Kate Williams’ Four Plus Three is collaboration between acclaimed jazz pianist/composer Kate Williams, vocalist Georgia Mancio, and the Guastalla string quartet. It was launched in spring 2016 with a short UK tour and support from Arts Council England. Kate continues her longstanding musical partnership with award-winning vocalist/lyricist Georgia Mancio: Finding Home: Kate Williams’ Four Plus Three meets Georgia Mancio was premiered on 6th October 2017 at the Pizza Express Jazz Club in London. The CD Finding Home was released in summer 2019, coinciding with a 14-date UK tour which received support from Arts Council England.

Award-winning jazz vocalist, lyricist and producer, Georgia Mancio, is one of Europe’s most respected, adventurous and multi-faceted new artists. Her music references classic jazz alongside her own astonishing writing and stamped with an unfailing emotional integrity.

In 2017 she released ‘Songbook’ – co-written with Grammy-winning pianist/composer Alan Broadbent – to universal acclaim and a sold out debut at Ronnie Scott’s. Other credits include Bobby McFerrin, Ian Shaw, Liane Carroll, Gwilym Simcock, Pat Metheny (lyric approval), and the renowned ReVoice! Festival and new series Hang, Kate Williams and multiple nominations in the Parliamentary, British Jazz and Urban Music Awards.

Jazz Ensemble of the Year

Nikki Iles Big Band

Award winning Nikki Iles has been at the forefront of British jazz for over three decades, playing and recording with Anthony Braxton, Vince Mendoza, Mike Gibbs, Kenny Wheeler, Art Farmer, Julian Arguelles, Stan Sulzmann, Norma Winstone, Dave Holland, Tony Coe and Rufus Reid. Her legendary warmth and generosity as a teacher – backed up by her considerable profile as a player and composer – have inspired generations of jazz musicians. She is currently Professor of Jazz Piano at the Guildhall and the Royal Academy of Music, but she is much in demand further afield. Nikki is also a tireless promoter of younger talent, teaching regularly in Bedford schools as well as being part of the core team on regional summer courses – specifically NYJO and the NYJC.  Her publishing profile – through Oxford University Press – now brings all sorts of musicians into jazz from other genres.

Nikki’s 20 piece Jazz Orchestra marks a new chapter in a long and distinguished career in British Jazz, gathering together commissions from over the years, new orchestrations of her own small band tunes and new compositions, all played by the remarkable band she has assembled. The depth and range of the exhilarating writing and arranging suggest it will be less like a debut, but more like seasoned hand and a distinctive voice, with the music bought to vivid life by a top drawer band, featuring some of the UK’s finest musicians – often bandleaders in their own right – including Gareth Lockrane, Tori Freestone, Mike Walker, Julian Siegel, Henry Lowther, Nick Smart and Karen Sharp.

Jazz Newcomer of the Year

Luca Manning

Luca Manning is young jazz vocalist and composer from Glasgow. Luca has had the opportunity to perform at various festivals across the UK – opening for the likes of Georgie Fame and Becca Stevens. His ability as not just a consummate vocalist, but also as a gifted improviser, continues to enthral audiences and shows maturity well beyond his years. In 2018, Luca was voted ‘Rising Star’ at the Scottish Jazz Awards and was also nominated in the ‘Best Vocalist’ category.

Now resident in London, Luca is fast making a name for himself. He is in his third year at the Guildhall School of Music on the Bmus Jazz degree and already has played major London venues such as Pizza Express Jazz Club and Ronnie Scott’s Jazz Club in Soho leading his own ensembles. He has also become a vocal chair holder with the National Youth Jazz Orchestra since January 2018, a member of the London Vocal Project (2018), and in December 2017, was invited by Liane Carroll to guest on her sold-out Christmas show at Ronnie Scott’s. Luca has just released ‘A Sleepin’ Bee’ with Threebop, a vocal group where Luca appears alongside Ella Hohnen-Ford and Rosina Bullen.

Jazz Venue of the Year

PizzaExpress Jazz Club

PizzaExpress Founder Peter Boizot was a jazz lover and constantly sought ways to include music in his restaurants, whether at PizzaExpress branches from the late 1960s, and at his other ventures Pizza on the Park and Kettner’s from the 1970s. The flagship venue at 10 Dean Street, London has hosted internationally acclaimed jazz artists since its first ticketed show, Bud Freeman, on 26th May 1976, including Clark Terry, Benny Carter, Van Morrison, Carla Bley, Monty Alexander, Amy Winehouse, and thousands more. The jazz club presented the UK debuts of Gregory Porter, Diana Krall, Brad Mehldau, e.s.t., Norah Jones, among many others. The 2019 programme included appearances by John Scofield, Benny Golson, Houston Person, Joel Ross, Jakob Bro, David Benoit, Joachim Kuhn, Eddie Henderson, as well as young and up-and-coming artists, album launches, festivals like Sounds of Denmark, the Steinway 2-piano Festival, London Latin Jazz Fest, and more than 30 shows in the EFG London Jazz Festival. PizzaExpress Live also run The Pheasantry in Chelsea, and venues in Holborn, Birmingham and Maidstone, programming almost 2000 shows across the five venues.

Jazz Media Award

Corey Mwamba “Freeness” BBC Radio 3

Corey Mwamba is the presenter of Freeness on  BBC Radio 3. Born and based in Derby, Dr Corey Mwamba’s commitment to jazz and improvised music in Britain and Ireland drives all aspects of his work, whether through making, presenting, promoting, or researching music.

Corey predominantly plays vibraphone and  dulcimer. He is recognised as a highly creative improviser and composer working across a wide range of jazz and contemporary music. Mwamba’s distinctive approach and tone is instantly recognisable in any context: a potent blend of pure sound, highly melodic phrases and ethereal textures; barely whispered chords and ear-piercing robotic screams.

Corey won a PRSF/Jerwood Foundation Take Five artist development award in 2007; was short-listed for the Innovation category in the BBC Jazz Awards in 2008; and received nominations for “Rising Star on Vibraphone” in the DownBeat Annual Critics’ Polls.

Reduced Listening are the producers of BBC Radio 3’s “Freeness”. They are an audio company making radio, podcasts, drama and documentaries. They work with the BBC and arts institutions, alongside cutting edge musicians, artists, and with people who have a story to tell.

Jazz Education Award

Jon Eno BEM

Jon Eno was awarded a British Empire Medal (BEM) in the Queen’s Birthday Honours list for his services to jazz music education. Jon is recognised in the world of jazz education as an ambassador for youth music. He set up the East Midlands Youth Jazz Orchestra in September 2002, together with Hot House Music Schools Ltd.

Students from beginner level to some of the best in the country travel great distances to work with the Hot House team and be part of their ensembles.

Performance is encouraged wherever and whenever, from formal black tie concerts, to outdoor bandstands, to small group jazz and solo work. He is a trusted mentor figure to whom many students have turned to for support and many of his students have gained entry to the top music colleges and gone on to work as professionals in the music industry.

Jonathan also established a gospel choir and a saxophone group for adults with some musical background or none at all, that provides the same inspirational opportunities as the youth sections.

He regularly arranges fund-raising events for the Teenage Cancer Trust and Marie Curie.

Services to Jazz Award

Blow The Fuse

Blow the Fuse was formed in 1989 by musicians and composers Deirdre Cartwright and Alison Rayner who were members of the internationally acclaimed jazz group The Guest Stars. They’ve played a crucial role in raising awareness about women jazz musicians and importantly giving them support, a space and opportunity to perform in times which have been very challenging.

They have been very much part of the new resurgence of jazz musicians, which contain many talented young women. Beginning in 2012, Blow the Fuses’ Tomorrow the Moon seasons one small step for women’ have featured groups led by composers Laura Jurd, Yazz Ahmed, Laura Cole, Dee Byrne, Sophie Tetteh, Lauren Kinsella, Roz Harding, Nikki Iles, Shama Rahman, Daphna Sadeh, Alexandra Ridout, Chelsea Carmichael, Camilla George and Nubya Garcia.

They’ve have managed many UK jazz tours with new musical works, innovative collaborations and educational projects and they run the Blow the Fuse record label.

Special APPJAG Award


Jazzwise magazine was launched in April 1997. It was initially funded by jazz educator Charles Alexander and featured a core group of writers including Jon Newey, who as editorial director relaunched Jazzwise in 2000 aiming to challenge the top American jazz titles for the best jazz writing and design.

In 2019 year Jazzwise celebrated its 20th anniversary, and it is the UK’s biggest selling jazz magazine in both print and digital editions and Europe’s leading English language jazz magazine. It has assembled a team of the UK’s most authoritative jazz writers, including Stuart Nicholson, John Fordham, Peter Vacher, Kevin Le Gendre, Brian Priestley and Val Wilmer, and co-founded the young jazz writer’s initiative, The Write Stuff, with Serious, designed to help new creative music writing.

Jazzwise is as deeply committed in encouraging the next generation of jazz musicians as it is about keeping the music’s colossal legacy alive and highly significant in a constantly changing musical landscape.

Jazzwise was purchased by independent publishers, the Mark Allen Group, in 2013 and formed the cornerstone of a now growing music division. Jon Newey became editor in chief and director in 2015 and promoted Mike Flynn to editor. Mike joined Jazzwise in 2006.


For further information please contact:

Chris Hodgkins

Tel: 0208 840 4643


Notes to editors

The Parliamentary Awards celebrate and recognise the vibrancy, diversity, talent and breadth of the jazz scene throughout the United Kingdom. The awards have been running since 2005.

The All Party Parliamentary Jazz Appreciation Group (APPJAG) currently has over 116 members from the House of Commons and House of Lords across all political parties. Their aim is to encourage wider and deeper enjoyment of jazz, to increase Parliamentarians’ understanding of the jazz industry and issues surrounding it, to promote jazz as a musical form and to raise its profile inside and outside Parliament. The Group’s officers as at the inaugural meeting on 26th February are  Co-Chairs, John Spellar  MP and Lord Mann, Vice Chairs, Alison Thewless MP and Chi Onwurah MP. Secretary, Sir Greg Knight MP and the Treasurer is Ian Paisley MP. Officers are: Lord Colwyn, Baroness Howe and Baroness Healy.

The Secretariat is Chris Hodgkins with the assistance of Will Riley-Smith and Louis Flood. The contact address is: the web address is: