The British Islands have taken the witness of the traditional cradle of jazz to show us a new version of a music with a thousand faces. A reinvention that orbits a group of young musicians who are translating swing into new languages to slide into.

Jazz is a genre that is written in continuous present. A style that like energy (or corruption) is constantly evolving. The same is jazz febrile pop of the forty and fifty, freeswing of the sixty, fusion of the eighties, Latin inrush of the nineties and new trends that we have encountered in recent years.

Such an elastic music that today is equally well represented in the craft programming of small small small children and in the fireworks of multi-tudinary festivals. A style of anarchic spirit that shines in the same way in black and white-flavored orthodoxy, in Kamasi Washington’s collaborations with Kendrick Lamar or in the lashes of Marcus Miller.

That’s the greatness of jazz

A whole musical melting polt that has erupted in England and fed a whole new generation of musicians who are breaking into the jazz scene to write the scores of tomorrow.

A heterogeneous group that is based on a single rule: No rules. So they have woven the wings of a new jazz. And deploy them. And they can revisit the recent past or fly to new planets accompanied by spiritual jazz, hip-hop or broken beat…And best of all, they make us travel with them.



The velvet of the new jazz. Despite inheriting musical genes from his parents, Yazmin had shown no special interest in jazz until he left for Nottingham. However, in this city opened a door of his heart to this musical style and since then they share a roof.

Her first EP (Black Moon) put her on the map, her second EP (90 Degrees) managed to set that same map on fire and her third and final EP (Something My Heart Trusts) has served to make it a cross-cutting reality of new jazz.

Author of her own works, her voice is seduced by other musical styles and blurs genres in her songs covering R&B, soul, blues and even reggae. Everything flows in a voice that caresses the soul of the listener.


Originally from Camden, Nuya has passed the barriers of jazz and has become one of the emerging stars of British music. Shortly after completing his academic training at the Trinity Laban Dance and Music Conservatory, Nubya García surprised everyone in 2017 with a debut album (Nubya’s 5ive) that only garnered good reviews.

Critics’ suspicions were confirmed in his second long (when we are) and since then, Nuya has not stopped widening the boundaries of his music. In his themes he manages to mix the long soliloquies to saxophone with Caribbean influences.

With a style that seems to blend Coltrane’s intimate with the tribal of Fela Kuti, Nuya feels comfortable sailing between different styles thanks to a saxophone that seems designed to invite us to dream.


There are artists growing up surrounded by music and the case of Poppy Ajudha is one of the best examples. Poppy didn’t grow up around the music but within the music itself: her father owned the Paradise Bar in south-east London and from a young age the same breathed a Miles Davis beat as Pearl Jam’s grunge chords.

Her style is as varied as its origins and is that her veins mix English, indian and St. Lucia blood. Her themes (which she is also the author of) are based on intimate jazz to play with complete naturalness in other styles such as R&B and soul.

Her lyrics, loaded with a heartbreaking lyricism, drink from the same font as the letters of Amy Winehouse. With four lengths behind her back: Patience, FEMME, Femme (Live), Lowlight, Poppy is ready to jump. Sky is the limit.


The orchestra man of this new jazz wave. Growing up in south-east London, Boyd serves as a drummer, composer, producer and presenter as he currently runs a radio show on BBC radio from where he sends good vibes to the planet.

Despite his insulting youth, Boyd possesses a classic soul. So his themes echo Duke Ellington and sound something new thanks to the different influences he has received in his training. Winner of two MOBO awards, Moses Boyd has become one of the main catalysts for the British jazz explosion.

With a sense of rhythm as wild as the miles Davis, Boyd has released several albums that have been acclaimed by the critic (both in his solo version and in the Binker & Moses duo) and has become one of the cornerstones of this new jazz.


If you have heard any British jazz theme of the last decade, Shabaka Hutchings has probably been put into garlic in one way or another. And it is that this London seems to live in a parallel reality in which the days have 33 hours since not to launch projects.

The British saxophonist and clarinetist, who lived his adolescence in Barbados, part of the jazzero sound but is open to all contemporary sound that suits his musical purposes.

His sax and clarinet accelerate musical revolutions. It is based on a high-paced jazz that blends a narrative perspective with a relentless rhythmic base. Although jazz is the central part of their vocabulary, as their ears are full of sounds close to reggae, Caribbean music and Old School rap, his themes produce a unique mix that explodes like fireworks.

To the face of suggestive projects such as Sons of Kemet, The Comet is Coming or The Antecesors and with several lengths in his career is one of the main totems of the flourishing of British jazz.