In a fascinating interview with the singer-songwriter Joni Mitchell, published in The Los Angeles Times in June 1979 around the release of Mingus, Mitchell signs off with the following aperçu. “You know, pigeonholes all seem funny to me. I feel like one of those lifer-educational types that just keep going for letters after their name. I want the full hyphenate – folk-rock-country-jazz-classic...so finally, when you get all the hyphens in, maybe they'll drop them all and get down to just some American music.”

Various Artists: I am the Center – Private Issue New Age Music in America, 1950–1990

“Show Me Love” by Robin S was a monster pop-rave crossover hit in 1990. Most of the crowd at Chase & Status’s Brighton date would have either not been born or in nappies gnawing Duplo bricks when it had its moment in the sun, yet they sing along en masse and roar approval as the band’s female diva, Moko, belts it out, jumping around in precariously stacked heels.

Harp glissandos, trilling flutes, the heft of a swinging brass section. Yes, last night's Jazz Voice once again kick-started the EFG London Jazz Festival in typically exuberant fashion. Arranged, scored and conducted by the indefatigable Guy Barker, its epoch-spanning celebration of jazz-related anniversaries, birthdays and milestones was hosted for the second time by Victoria Wood.

The Southbank’s artistic director Jude Kelly was out in force at this penultimate weekend of The Rest is Noise festival, delivering little triumphalist, Ryan Air-like fanfares, reminding us how pioneering they had been to programme composers such as Igor Stravinsky, Richard Strauss, Benjamin Britten and Philip Glass - composers who no one had ever heard of before they'd bravely decided to put them on.

It’s surprising how a singer with as little obvious presence or charisma as Justin Vernon can carry a live show, but he does. The power is in the otherworldly voice, and haunting songs with mysterious lyrics, carried on a wall of sound in the tradition of those “little symphonies for the kids” that Phil Spector pioneered half a century ago.

This year 2013 marks the 50th anniversary of two landmark albums, both of which were composed and recorded by bassist, pianist and all-round jazz colossus, Charles Mingus. Mingus, Mingus, Mingus, Mingus, Mingus is a reimagining of some of Mingus’s tunes from the 1950s in a way that has influenced acclaimed jazz-rock amalgamates such as Get The Blessing. The Black Saint and the Sinner Lady, on the other hand, is a spawling, orchestral masterpiece that is often described as Mingus’s greatest work.

Brenda Holloway: The Artistry of Brenda Holloway / Various Artists: ERA Records Northern Soul

No preparation is sufficient for hearing the theme to Doctor Who live. It’s obviously going to be on the menu, yet as the familiar “dung-a, dung-a, dung-a” refrain kicks off something deep and unexpected stirs within. The emotional bond with this sound and this melody is so strong it’s akin to being transported to one of the Doctor’s exotic destinations. Recreated on stage, the familiar suddenly becomes thrillingly fresh.

Liam Noble has kept his fans waiting so long for some new music, they were beginning to wonder if he’d turned into David Bowie. The British jazz pianist’s last album of originals, Romance among the Fishes, was released in 2004. Since then he’s recorded the highly regarded Brubeck, which Brubeck himself declared "an inspiration and a challenge for me to carry on”, and collaborated with distinguished players on both sides of the Atlantic.