SUNDAY 4 JANUARY

The Jim Mullen Organ Trio


The return of one of the most popular bands on the national scene. Headed by Britain's finest jazz guitarist, Jim Mullen, The Organ Trio play a mix of standards, originals and modern jazz with a variety of tone, texture and attack that draws on understated impressionism, contemporary ideas and the funky Wes Montgomery/Jimmy Smith vein. Also featuring the punchy playing of Mike Gorman (organ) and Matt Skelton (drums). Not to be missed!

Watch YouTube footage of Jim here

“Mullen's mix of funkily hard-struck notes and soft-toned fluency is always hypnotic”
The Guardian


Admission - 7 / 6 (concession)


SUNDAY 1 FEBRUARY

The Julian Costello Quartet


Original and contemporary ECM influenced jazz. Strong, evocative compositions fuse with melodic playing to create some compelling music. Featuring the wonderful Julian Costello (tenor/soprano saxophone), David Beebee (piano), Dave Jones (double bass) and Milo Fell (drums).

Watch YouTube footage of Julian here


"Costello is an extremely moody player on both saxophones and his compositions cover many musical areas...an emotive and soulful tenor player"
Jazzwise magazine

"left leaning out there tenor player"
The Guardian

"Delicate and melodic...saxophone led original material with nods to Jan Garbarek and Ralph Towner"
Time Out


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)