St Martin-in-the-Fields, London: Rhapsody in Blue – James Pearson and the Ronnie Scott's Allstars

It was truly a stellar line-up that brought some of the best of America's popular jazz composers to St Martin's stunning church setting this week.

From the opening Leonard Bernstein overture to a concluding romp through Rodgers and Hart classic The Lady is a Tramp, this collection of some of the cream of the current British jazz crop had a packed audience rapt and whooping through the two hour show.

No, Pecha Kucha isn't an Inca settlement in the Andes, it's a bimonthly networking event, and it's come to Brighton. Pronounced 'pe-chak-cha' it means chit-chat in Japanese, and that's where it originated, as a means of giving young designers and architects a night to meet and show their work.

Oklahoma: Chichester Festival Theatre (until 29 August)

Let's face it, whether you find musicals like this Rodgers and Hammerstein staple a field of old corn or a treasure chest of gems, there's no denying the string of top notch songs on show.

When you've got a first half stuffed with numbers like Oh What A Beautiful Mornin', The Surrey With The Fringe On Top, Kansas City, I Can't Say No! and People Will Say We're In Love, you find yourself being hummed into submission sooner or later.

And this zingy take on the tale of an earthy farming community in the early 20th century has some great performances to keep things moving along, with director John Doyle's pacy production keeping the audience engaged throughout.

When the Tate stage a major show, you know there will be a pretty definitive book to accompany it – and Richard Long's retrospective 'Heaven and Earth' is no different.

The first show in 18 years by this Turner Prize-winning artist features four decades of work. The book records this lifetime's work and includes an introduction by Sir Nicholas Serota, an interview with the artist by Michael Craig-Martin and an essay by Clarrie Wallis.

It's easily the most comprehensive study of this artist, and its publication may well see his reputation grow. Fellow land artist Andy Goldsworthy has become primary school fodder on the strength of his published work; hopefully, this book will take Long to a much wider audience in the same way.

At the Bournville village, an old pond in the Women's Recreation Ground is cleared of rubbish, restored and reopened to the public. And then the water is dyed Cadbury's corporate purple.

Liverpool's Bluecoat Gallery holds a one-day Record Fair, advertised as such in Record Collector – but listed in Art Review as an happening. Two very different audiences meet.

Three grass verges are closed off for the duration of an arts festival by heavy-duty, industrial security fences. The community complain.

And a bright red Gnat jet fighter leaves a smoky anarchist symbol across a blue sky. These are some of the interventions, actions and encounters which make up the combined public art practice of Cornford & Cross.

The two artists - Matthew Cornford and David Cross – first worked together at Central St Martins. Since then, they have produced dozens of challenging and perplexing works of art in public spaces, exploring and often redefining the very notion of public art.

Okay okay, I�ll admit it. I am a hopeless romantic. Not so much the roses and chocolate type (for that I would check with my Lady but I don�t think I win many prizes for it). No I�m a romantic in the other sense, you know, like the movement. Maybe that�s not true either but still I have a fondness for not forgetting and thinking in great fondness of my past. The not so great bits can always be glossed over to settle on the bits that were in fact great. More often great in there time and shouldn�t be recreated. Much like you should never watch Knight Rider or Terror Hawk as a grown up. They were great back then and time never really treats them kindly.

The May Open Houses in Brighton may be the biggest free art festival in town, but for huge quantities of free art, craft and design in one location, the annual Degree Show at Brighton Uni can't be beat. But first thing that strikes you on arriving at Grand Parade is that Victoria Gardens opposite has become a forest of potted trees (how long before they start appearing for sale at the Sunday Market, I wonder?). It's a project by architecture student Lucy Palmer to find new uses for the Valley Gardens, part of SEEDA's Places from Spaces programme.

For an artist who treads gently, Richard Long has made a big impression on the landscape since the first work in this exhibition, 'A Line Made By Walking', was exhibited in 1967.

That first work set Long's agenda for the rest of his career; an element of performance, landscape celebrated through simple mark-making, and the whole 'sculpture' recorded in clean, elegant photography and text. Long took a train journey from his studio in the sculpture department at St Martins School of Art, found a field, and marked a line by walking up and down, flattening the grass.  He photographed the line, framed it and added a caption in a clean, sans-serif font. Since then, Long's walks have got longer, his lines have got bigger, his marks bolder, and the text sometimes larger, but the work has essentially been within that same framework.

Chichester Festival Theatre: Hay Fever by Noel Coward

If you're in need of a lift, make sure you catch Hay Fever at Chichester � it's a delight.

First of all, there's the script. It doesn't matter a jot that there isn't really any plot to speak of in this Twenties romp, when you have Coward's elegant, witty dialogue to entertain you.

Brighton Theatre Royal: Gethsemane by David Hare

Trenchant, clever writing with lines to relish, powerhouse performances from a quality cast, a striking and creative set � there was so much to enjoy about David Hare's Gethsemane last night. And yet ...