The thoughtful and melodic trumpeter Dan Friend returns to Milestones leading a band through a choice selection of lesser-known standards and originals influenced by Miles Davis and Keith Jarrett. Featuring players more than capable of turning up the heat: Matt Hodges (piano), Owen Morgan (double bass) and Jesse Barrett (drums).

Admission - 7 / 6 (concession)




The Kristian Borring Trio

The Danish guitarist and composer returns to Milestones to steer a steady course through elaborate and gently propulsive original material from his new album. Influenced by the thoughtful and tasteful styles of Jim Hall, Pat Metheny and John Abercrombie, Borring’s clear-sighted improvisations navigate melodic grooves and rich harmony with vibrant support from the great Dave Whitford (double bass) and Jon Scott (drums).

Watch YouTube footage of Kristian here and visit his website here

Admission - 7 / 6 (concession)

“...hyper-cool and low-key approach to jazz guitar, but with warmth, confidence and a rhythmic hipness that's thoroughly contemporary“
The Guardian

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

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


The Andy Nowak Trio

With Andy Nowak (piano), Spencer Brown (double bass) and Andy Tween (drums).

Full details to follow.

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)