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3-1-10
The Paul Hill Trio
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SUNDAY 4 APRIL
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The
Tommaso Starace Quartet
The
hard-swinging Italian alto saxophonist with a post-Parker flair
returns with an all-star band, a few standards and impressive new
compositions that reflect the diverse inspirations of Maurice Ravel,
Cannonball Adderley, Ennio Morricone and Stevie Wonder. Staraces
sparkling lines set the mood with forthright support from Frank
Harrison (piano), Will Collier (double bass) and Chris Nickolls
(drums). Listen to Tommasos music here
and here
'The
promising Starace seems to be revealing his most personal voice
in the full-on music'
John Fordham, The Guardian
Admission - £7 / £6 (concession)
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SUNDAY 2 MAY
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Loz
Speyer's
Inner Space Music
The
music of trumpet / flugelhorn player and composer Loz Speyer is
hard to pin down - by turns boisterous, gritty, graceful and swinging.
Speyer draws on Ornette Coleman, Steve Lacy, Dave Holland and qigong
philosophy to make a heady brew that is always intriguing and exciting.
ISM also features the bustling, interactive energy of Rachel Musson
(tenor / soprano sax), Olie Brice (double bass) and Graham Fox (drums).
Listen to the band's music here
One
of the happiest evenings I've heard in jazz for many a long night
music
as rare as this defies description
Karl Dallas, The Morning Star
Sophisticated
and harmonically intriguing
well worth waiting for
John Fordham, The Guardian
Admission - £7 / £6 (concession)
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SUNDAY6 JUNE
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Compassionate
Dictatorship
The return of Jez Franks
(guitar) and Tori Freestone (tenor sax) co-leading a band drawn
from the influential F-ire collective and the cutting-edge of UK
jazz. Performing original compositions of fractured beauty, atmospheric
grooves and free-wheeling improvisation from their new album, Cash
Cow. Also featuring the great rhythm section of Jasper Høiby
(double bass) and James Maddren (drums). Listen to the band's music
here
and here
This is
a muscular but intelligent band playing immediately accessible,
spirited yet carefully wrought music
Chris Parker, jazz journalist.
This new band is another vital example of UK musicians embracing
and incorporating both free jazz and rock elements into an edgy,
risk taking approach to their music
Jazzwise magazine
Admission - £7 / £6 (concession)
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SUNDAY 4 JULY
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The
Graeme Culham Sextet
Play
Buddys Review
A
celebration of the music of Buddy Rich (left).
Listen to Buddy's
Review here
Full details to follow
Admission - £7 / £6 (concession)
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*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.
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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)
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