SUNDAY 2 APRIL

The Maciek Pysz Quartet


The Polish guitarist and composer makes his Milestones debut with a modern style that includes washes of sound, flighty melodic lines and insistent rhythms influenced by Pat Metheny, John McLaughlin, Flamenco and Brazilian music. Maciek's band performs with real improvisational flair and features a top line-up from the UK jazz scene: John Turville (piano), Yuri Goloubev (double bass) and Eric Ford (drums).

Watch You Tube footage of Maciek Pysz here and visit his website here

“Recommended!"
Time Out magazine

“…played with sensitivity and conviction…recalls recent work of Al Di Meola”
Jazzwise magazine

“Elegant exploration of nylon-string guitar, fusing jazz chops and Joni-style arrangements”
Guitarist magazine

“However impressive his technique may be, it is certainly not ‘showy’ – everything is at the service of creative expression”
London Jazz News

"From the start it was obvious that this was going to be something special. Pysz had the audience enthralled"
Bebop Spoken Here

Admission - 7 / 6 (concession)


SUNDAY 7 MAY

TBC


SUNDAY 4 JUNE

The Button Band


Guitarist and composer Andrew Button returns to Milestones as part of a UK tour, leading his London band through originals that reflect the influence of Bill Frisell, John Scofield and Loose Tubes. Sometimes playful, sometimes melancholy, always quietly grooving - contemporary jazz featuring the great Andy Woolf (tenor sax), Dave Manington (double bass) and Marek Dorcik (drums).

Watch YouTube footage of The Button Band here and visit Andrew Button's website here

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)