Hannah Hutton is a Liverpool‑born jazz vocalist and programme manager at Kings Place.

Having performed at well-known names like; Barbican, Royal Opera House and Pizza Express Jazz Club (to name but a few) she has lived experience of UK jazz.

Co-founding Kings Place Jazz Orchestra (KPJO) with Callum Au, Hannah has used her “lived experience” as a jazz professional to create an amazing project with a clear structure to support “young talented jazz artists.”

We had a brief discussion with Hannah about the forth coming live nights taking place from the 20^{th of} September to 22^nd November.

You started in classical music, and then into jazz-why did you leave jazz as it were?

I grew up in a very musical family, but classical music was the world I knew first. My dad spent 44 years as a violinist in the Royal Liverpool Philharmonic Orchestra, and my mum is a Senior Lecturer in primary music education, so music was always around me.

I hadn’t planned to study music at all, I was set on Politics and History, until I began lessons with Liverpool‑born mezzo‑soprano Kathryn Rudge and joined the Liverpool Phil Youth Choir.  

I went on to study at Leeds College of Music, where my path was quite unconventional. I started in classical vocal studies, before changing pathways and graduating with a major in jazz voice and minor in classical conducting. 

Leeds gave me the freedom to explore, and I realised early on that I was looking for the interaction, creativity and improvisation that jazz offered. Immersing myself in the Leeds jazz scene, jazz language and gigging gave me exactly the learning environment I needed. 

After graduating, I moved to London to specialise, and joined the Guildhall School of Music & Drama for a Masters in Jazz Voice as a scholarship holder and Help Musicians supporting artist.

We’re focused on creating genuine pathways for emerging artists, not just one‑off chances.

Talk a bit about the interaction that jazz brings.

You are right.  The sense of community, creativity and shared music is central to jazz.

I was really inspired by artists like Cécile McLorin Salvant, who merge different musical worlds so naturally; classical language, theatre, storytelling and improvisation. This journey has really allowed me to keep my ears and eyes open to music across the whole spectrum.

With jazz, it has been important taking time through my postgrad and further study to understand the tradition, the lineage and the vocabulary that underpins the music.  

That breadth is also why programming at a creative, forward‑thinking venue like Kings Place is so appealing. It’s a space that presents music across genres – classical, jazz, contemporary, folk, spoken word – and encourages artists to explore the connections between them.

Having moved between musical worlds myself, working in a venue that values that same curiosity feels like a natural extension of my artistic background. 

You set up the Kings Place Jazz Orchestra with Callum Au.

Callum and I had been discussing our long‑held ambition to create a resident jazz orchestra in a concert‑hall setting.

In early 2025 we met Kings Place’s Artistic Director, Sam McShane, and within a few months the Kings Place Jazz Orchestra (KPJO) was born, a handpicked, project‑based ensemble made up of leading UK jazz and big band musicians alongside rising‑star young artists.

I joined the programming team soon after and feel grateful to be part of the music foundation and team during such an exciting period of growth and investment in the jazz programme. 

KPJO is a handpicked, project-based ensemble, made up of the UK’s finest jazz and big band musicians, alongside rising-star young artists. Kings Place Jazz Orchestra is more than a new resident ensemble – it’s a bold statement of artistic ambition. 

As the programmer, what has been your overall thoughts and wishes for this year. 

My focus this year has been on shaping a programme that feels genuinely connected – to the artists we work with, the audiences who come to Kings Place to discover new music, and the creative community around us.

A big wish for me has been to deepen our commitment to artist development – giving musicians the space to experiment, return, and grow with us. Strengthening our partnership with Serious and the EFG London Jazz Festival has also helped us build a season that feels rooted in London’s scene while staying open to international voices. 

Above all, I want audiences to feel part of something that’s evolving — that by being here, they’re helping new work come to life and contributing to a space where jazz can thrive and belong. 

A remit for your programme nurtures new talent, please discuss this more and why is it so important? 

Nurturing new talent is an important part of my work. 

We’re focused on creating genuine pathways for emerging artists, not just one‑off chances. Through Kings Place Belong, the Young Artist Platform and our KPJO open rehearsals, we give young musicians access to paid opportunities, mentoring, professional stages, open rehearsals, inclusive pathways. 

It’s about helping early career artists feel part of the scene, building confidence, and making sure London’s musical future is shaped by diverse voices. Supporting the next generation keeps the industry moving forward, creatively, culturally and sustainably. 

Representation isn’t just about who’s on stage, it’s also about who has access to training, who feels welcome in the spaces, who gets opportunities, and who is supported to build sustainable careers.

Does jazz have a way to go to represent fairly and equally.

Jazz has always been shaped by a wide range of communities, identities and cultural histories. I think we have a responsibility, as programmers, artists and organisations, to make sure that the scene reflects that richness. 

There’s been real progress in recent years, especially through the work of organisations like Tomorrow’s Warriors, Kinetika Bloco, Women in Jazz and many grassroots initiatives, but I do think there’s still a way to go.

Representation isn’t just about who’s on stage, it’s also about who has access to training, who feels welcome in the spaces, who gets opportunities, and who is supported to build sustainable careers. 

Our programming approach is intentionally broad and inclusive, ensuring that artists from different backgrounds, traditions and career stages can develop work, collaborate and be heard. 

Lastly, please could you give a brief overview of the great jazz lineup you have over the coming months? 

Our jazz programme over the coming months offers a fantastic snapshot of what makes Kings Place such a special destination for jazz. Alongside our Kings Place Jazz Orchestra concerts, the London Jazz Festival will bring an exciting mix of internationally renowned artists, rising stars and unique collaborations to the venue. The season reflects the breadth of the jazz scene today, spanning everything from contemporary and genre-crossing projects to big band performances and intimate solo shows.  

SHOWS