Change to previously advertised concert

The Art of The Trio

From Nat 'King' Cole and Oscar Peterson to Jimmy Giuffre and Tal Farlow, jazz has a rich tradition of drummer-less trios. Now three of East Anglia’s leading jazz musicians have formed The Art of The Trio to explore its opulent harmonies and contrasting textures through a programme of standards and neglected gems. Featuring the great Phil Brooke (guitar), Simon Brown (piano) and Owen Morgan (double bass).

Watch You Tube footage of Phil here

Listen to some of Phil's solos from his solo CD, 'Alone Together':

 Alone Together

Green Dolphin Street
Tenor Madness (with fade)

Admission - 7 / 6 (concession)


Zoe Gilby
The Andy Champion Trio

The return by popular demand of the gifted young singer from Newcastle with a deeply expressive and agile quality. The influence of Sarah Vaughan, Nancy Wilson and Anita O'Day are mixed with a healthy dose of the blues on a repertoire of American songbook classics and striking original material. Sympathetic support from the endlessly resourceful Andy Champion (double bass). Piano and drums to be confirmed.

Listen to Zoe here and watch YouTube footage here

"Deserves wider recognition and a major record deal. An excellent CD"
Courtney Pine, BBC Radio 2

"Sparkling debut by an exuberant singer whose lively personality comes across on every track. Sheer enjoyment throughout"
Jazz UK magazine

"Modern, mature... swings like a bell"
Carol Kidd MBE, singer

"An impressive performance from a sophisticated young singer. Her voice has real character. Powerfully sultry and expertly handled"
Jazz Journal International

"A wide vocal range, warm timbre and clear diction which she uses skilfully to unveil her moods. It's clear that she's already found her own voice"
All About Jazz USA

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)