Makaya McCraven at the Barbican on November 11 [Lloyd Winters]

IS  it compulsory for contemporary conductors of jazz to have flowing hair? I only ask because the start of my 10-day EFG-London Jazz Festival campaign began with two string-laden concerts, both featuring conductors with barber-dodging hairstyles.

First up, riffing on a Beethoven cut, Guy Barker’s festival-opening gala Jazz Voice on November 10 at the Royal Festival Hall, now in its 15th year. As always it featured a rotating cast of singers, the one constant being Barker’s sumptuous arrangements for orchestra and big band.

As usual it was a raft of top-flight vocalists – China Moses, Emile Sandé, Omar and Vanessa Haynes being the reliably big guns -and Jumoké Fashola has settled comfortably into her role as MC.

My one reservation is that over the years the focus has switched somewhat from jazz standards to original songs by the guests which tend to be unfamiliar, as they are often from forthcoming albums. This is obviously a personal preference (and nobody can blame the singers for wanting to hear the magic jazz dust Barker can sprinkle over the tunes) but the highlights for me were Judi Jackson singing a sultry, bluesy Black Coffee and the amiable actor and writer Clarke Peters essaying Billy Strayhorn’s Lush Life. Gothic-y multi-talented (sax, piano, producer, actor) Naomi Banks also impressed with her song writing and some belting neo-soul. One to watch.

A section of the gala I always enjoy is Barker’s instrumental showcase that opens the second half. This year it was a 15th anniversary reprise of his Wayne Shorter and Quincy Jones medley, gliding through former’s deliciously knotty themes and building towards Quincy’s crowd-pleasers – a punchy Theme from Ironside and the Austin Powers fave Soul Bossa Nova. The tight Jazz Voice format doesn’t give much scope for individual players to shine, but kudos to sax/flute man Graeme Blevins and Martin Shaw on trumpet/flugel for making the most of their moments in the spotlight.

Makaya McCraven  with Robert Ames conducting the London Contemporary Orchestra at the Barbican, November 11. [Lloyd Winters]

The next night, November 11, it was Makaya McCraven alongside the London Contemporary Orchestra at the Barbican, with Robert Ames (long, vaguely hippie-ish hair) conducting. His was a more minimalist approach to the art than the ebullient Barker and the string arrangements were perhaps less complex, but hugely effective in supporting and elevating McCraven’s album In These Time in a live concert-hall setting. They played the record in full, although not necessity in the same track order.

This band has star players too: young vibes man-of-the-moment Joel Ross and trumpeter/flugel player Marquis Hill, who carried most of the melodic weight of what became an extended suite. Matt Gold on guitar did a fine job of filling Jeff Parker’s oversized shoes from the album sessions, soloing while mostly sticking to the various tunes’ harmonic pathways. Even my guitar-averse wife was taken by his performance.

Makaya McCraven and band [Lloyd Winters]

There were few grandstanding fireworks, but plenty of beauty and McCraven’s drumming (one second choppy, machine-like hip-hop beats, the next ferociously swinging cymbal work) was never less than mesmerising.

Favourite moment? Probably on The Chase when Marquis Hill channelled the sound of Chuck Findlay (as heard on Blade Runner Blues, from the orchestral version of the soundtrack that Vangelis disowned). The concert finished with an affecting, string-drenched version of the album’s slow-fast-slow title track.

There was no encore, despite the Barbican audience’s standing ovation. Last time he played in London some critics complained the show was baggy and overlong. Not here, not for me. I could have gone round again.

Back to the Barbican on complex on November 16 for a tribute to the late Pharaoh Sanders at the smart Milton Court auditorium, part of the Guildhall School of Music. It was to mark the release of Pharoah, a “lost” 1977 album just re-released in a handsome box set by Luaka Bop.

It is a strange but captivating hybrid, mainly because the producer thought he was doing a jazz album but Pharoah brought a rock band to the studio. Neither was entirely happy with the results. Actually, it’s a pretty stunning record. Luaka Bop are inviting various bands around the globe to do their own interpretation of the lengthy main track, Harvest Time.

At Milton Court it was an expanded version of the London trio Ill-Considered with guests, including Sheila Maurice-Grey of Kokoroko on trumpet and guitarist Tisziji Muñoz– who was on the original record.

Much of the soloing focused on Muñoz and with good reason – he has never appeared in the UK, or indeed, Europe before. He often sounded like Alice Coltrane- or Welcome-era Carlos Santana (this is a good thing in my book), and he also chanted various epigrams through the performance. Looking a little like Peter Blake, playing seated, when he eventually hit the opening chords of Harvest Time, hairs stood up on necks.

Skilled saxophonist Idris Rahman never offered an impersonation of Sanders, but did a wonderful evocation of that idiomatic, bracingly raw tone.

For me there was a little too much formless meandering at the start (which in fact does happen later on the actual track, before Pharoah pulls it all back) but I soon realised that I had missed the point – this was to be no slavish recreation, but a fresh take on the piece inspired by the saxophonist and the track. Once I accepted that, I relaxed and enjoyed it.

One thing not on the record has stuck in my mind – Sheila Maurice-Grey on trumpet. She really has become quite the talent.

But do buy the album if you like Sanders: the new release also comes with two quite different live versions of Harvest Time, as well as – with the vinyl – a stack of memorabilia.

• Pharoah is available from Rough Trade (www.roughtrade.com) for £29.99 CD, £54.99 double vinyl album