“A E Housman said he could recognise poetry because it made his throat tighten and his eyes water. I can recognise jazz because it makes me tap my foot, grunt affirmative exhortations, or even get up and caper round the room.” For those curious to discover the kind of music that made poet Philip Larkin leap around shouting “Yeah, man”, help is at hand. As part of this year's Larkin25 celebrations to mark the 25th anniversary of his death, Proper Records is releasing Larkin’s Jazz, a four-disc conspectus that collects together many of his favourite jazz recordings.

It's Friday afternoon, the sun's beating down, and I'm kicking back with a cold one in Kongens Have, Copenhagen's oldest and most idyllic park. From the bandstand, the music of Duke Ellington falls mellifluously on my ears, the languorously swinging, behind-the-beat groove of the specially assembled Band Leader Session perfectly suiting the sultry atmosphere. We can't know for sure what heaven will be like, but I'm hoping it'll be something like this.

An unprecedented second consecutive year for saxophone colossus Sonny Rollins, celebrating his 80th birthday, is one of the many highlights of the 2010 London Jazz Festival announced yesterday. One question immediately springs to mind: which Noël Coward classic will he dust down this year?

A bad cover version can be a dangerous thing. Imagine, for example, that your first encounter with the brilliant Gershwins was Kiri Te Kanawa's egregious Kiri Sings Gershwin. This, potentially, could be so distressing that it might put you off George and Ira for life. In fact, it could put you off music for life. Rather than "(Sittin' On) The Dock of the Bay", Michael Bolton's typically understated take makes you want to throw yourself in. And then there's Sting's John Dowland tribute, Songs from the Labyrinth. This was released over two years ago, so there's a possibility that Dowland has now stopped spinning in his grave. But I doubt it.