The Manchester trumpeter's third album begins and ends with an up-tempo, hard-bop-played-fairly-softly, feel.

Another addition to trumpeter Wheeler's late-period masterworks for this Italian label.

David McVicar's darkly primitivist Aida was a necessary antidote to the whole tedious tradition of sub-De Mille spectacle in this piece.

There seems to be no end to the contexts in which people stage comedy. You can now have your laughs pretty much any which way: by the sea, in the air (BA are trying for a world record for highest comedy gig for Comic Relief) or, as well as all manner of site-specific events, merged with an array of musical stylings.

The Italian trumpeter Paolo Fresu is one of the great stars of European jazz, his Chet Baker-influenced style excelling in intimate, human-scale settings.

Edwards is trumpeter-by-appointment to the alt-rock elite (he's worked with the likes of Siouxsie, Jerry Dammers and Madness), and best-known for his albums reinterpreting the works of Miles Davis, the Jesus and Mary Chain and the Fall.

It was extraordinary but not especially surprising how Gustav Mahler’s presence could loom so large in a concert containing not one single note of his music.

Solomon Burke's final album was recorded in Belgium with De Dijk, the Dutch equivalent of The Dap-Tones, a showband devoted to the soul tradition.

The Barmy Army is, quite understandably, not everyone's cup of tea or schooner of VB, but the England team claim to take heart from their ceaseless chanting.

Saxophonist Ed Jones and trumpeter Damon Brown are talented UK bop players who've been round the block a few times and Killer Shrimp is their attempt to use technology to sound more contemporary.

As long as you know what you're doing, and take a good identification guide with you, there are few things more delicious than your own apricot-coloured chanterelles, brown-capped penny buns or ceps, trumpet-like horns of plenty or creamy white field mushrooms.

Eric Clapton's last couple of albums have been collaborations, with J J Cale and Steve Winwood respectively, and it's fair to say that the success of Clapton derives in part from the extension of that collaborative spirit into the solo arena.

The Mahler had come the night before – this second Berlin Philharmonic Prom imaginatively chronicled the before and after.