Michael Garrick and
Nette Robinson
'Remembered Time'

Prolific composer and pianist Michael Garrick is a legend of UK jazz, often called ‘The English Ellington’ for the depth, originality and beauty of his musical vision over fifty years. His latest collaboration is with the expressive singer Nette Robinson on originals, standards and, to mark the thirtieth anniversary of his death, work by the great pianist Bill Evans. Not to be missed!

Listen to Michael and Nette’s music here, here and here.

'When the Big Audit is completed, Britain will find itself in trouble for not having disclosed a national asset on the scale of Michael Garrick’
The Penguin Guide to Jazz on CD

‘…truly of world class’
John Dankworth

'Mike's inventiveness, wit and zest for musical exploration is little short of
uncanny'
Humphrey Lyttelton

Admission - £7 / £6 (concession)

Photograph by Jerry Storer

Simon Spillett
& The Chris Ingham Trio

BBC JAZZ AWARDS 2007 RISING STAR;
JAZZ JOURNAL MAGAZINE RECORD OF THE YEAR 2009 FOR 'SIENNA RED'

Virtuoso tenor saxophonist Simon Spillett is a player of jaw-dropping ferocity in the mould of Tubby Hayes and Johnny Griffin with whom he shares a love of dare devil tempos and all-out, no-holds-barred, intensity. One of the most entertaining of the new wave of young musicians, Spillett always delivers a high-energy performance of standards and striking originals. With muscular support from Chris Ingham (piano), Ivars Galenieks (double bass) and Russell Morgan (drums). Visit Simon's website here and watch him blowing up a storm on 'Cherokee' here

More musical extracts here and here

'Formidable'
Humphrey Lyttelton

‘He is the Lewis Hamilton of the tenor saxophone, and other players gulp when they hear him. It's not just his mastery of the tenor saxophone, phenomenal though that is, but the absolute conviction of his playing that is so impressive’
The Observer

‘Spillett is a bruising scruff-of-the-neck hard bopper who has absorbed all the giants … generates huge excitement and swagger’
Mojo Magazine

Admission - £7 / £6 (concession)

The Nigel Price Organ Trio

WINNER OF ‘BEST JAZZ ENSEMBLE’ IN THE 2010 PARLIAMENTARY JAZZ AWARDS

When the guitarist formerly with The James Taylor Quartet last visited Milestones he recorded his new album, ‘Live’. Now he returns with his funky and hard-swinging band performing fiery originals and standards in the spirit of Wes Montgomery, Jimmy Smith and Jack McDuff. Price’s energetic voice skilfully fuses flowing bebop lines and the earthy wail of the blues while petrol is thrown on the fire by the great Pete Whittaker (Hammond organ) and Matt Home (drums). An exhilarating group, not to be missed! Listen to the band's music here and here and watch a choice of YouTube footage here

‘He stands out as a really class performer’
Humphrey Lyttelton

'… a real killer’
London Evening Standard (CD of the week)

’I first encountered Nigel when I played percussion in The James Taylor Quartet. He blew me away then and he does now’
Snowboy, Blues and Soul magazine

Admission - £7 / £6 (concession)

Trish Clowes's
Tangent

Tenor saxophonist and composer Trish Clowes showcases original material from her debut album produced by Gwilym Simcock that distils the influences of Wayne Shorter, Astor Piazzolla and modern classical music into a take on contemporary jazz that is both intelligent and quietly elegant. With a slew of the UK’s top young players in support - Chris Montague (guitar), Calum Gourlay (double bass), James Maddren (drums). Listen to Trish’s music here and here

‘Clowes is an extremely gifted writer … her tenor tone is round, sure and pure, sometimes almost Getz-ian’,
Chris Parker, Jazzwise magazine

Part of a national tour supported by Jazz Services

Admission - £7 / £6 (concession)

TBA

The Kristian Borring Quartet

The Danish guitarist and composer Kristian Borring steers a steady course through original material from his first album that is both elaborate and gently propulsive. Borring’s clear-sighted improvisations navigate changing time signatures, melodic grooves and rich harmony with the vibrant support of Arthur Lea (piano/Fender Rhodes), Spencer Brown (double bass) and Jon Scott (drums). Listen to Kristian's music here and here

‘…a rising talent on the new London jazz scene…’
Time Out

'…mixes post bop lines with more contemporary abstract sounds…’
Jazzwise magazine

Admission - £7 / £6 (concession)

*PLEASE NOTE*: details of concerts and musicians appearing are correct at the time of writing although changes are sometimes necessary. Please feel free to check with us before attending.

Somebody who decides to play jazz for a living knows he will struggle for the rest of his life, unless he opts for predictable and soothing compromise. Honest jazz involves public exploration. It takes guts to make mistakes in public, and mistakes are inherent. If there are no mistakes, it's a mistake. In Keith Jarrett's solo improvisations you can hear him hesitate, turn in circles for a while, struggle to find the next idea. Bird used to start a phrase two or three times before figuring out how to continue it. The heart and soul of improvisation is turning mistakes into discovery. On the spot. Now. No second draft. It can take a toll night after night in front of an audience that just might be considering you shallow.

From 'Close Enough For Jazz', Mike Zwerin (1983)

Now, divine air! Now is his soul ravished! Is it not strange that sheeps' guts should hale souls out of men's bodies? Well, a horn for my money, when all's done.

From 'Much Ado About Nothing' (Act II, Scene iii), William Shakespeare (1600)

Onstage, he storms inwardly, glaring at his audience, wincing at his trumpet, stabbing and tugging at his ear. Often his solos degenerate into a curse blown again and again through his horn in four soft beats. But Miles can break hearts. Without attempting the strident showmanship of most trumpeters, he still creates a mood of terror suppressed - a lurking and highly exciting impression that he may some day blow his brains out playing.

Barry Farrell, writing in Time Magazine (February 28 1964)