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SUNDAY 3 AUGUST
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The
Jazz Funk Collective
A
dynamic 7-piece band of young London-based musicians reference bebop,
funk, drum n bass and modal swing through astute arrangements of
original material packed with great improvisation. With Duncan Eagles
(tenor sax), Sam Eagles (alto sax), Andrew Jackson (alto sax), Andy
Highmoor (piano), Leo Appleyard (guitar), Max Luthert (bass) and
Chris Packham (drums). Visit the band's websites here
and here
'Those
bemoaning the state of the nations youth should check out
this band'
Jazzwise Magazine
Admission
- £7 / £6 (concession)
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SUNDAY 7 SEPTEMBER
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Hai
La Drum
Virtuosic
violin-led gypsy jazz quartet playing fast and fiery Romanian themes,
jazz standards with a refreshing contemporary twist. All is melded
into an unpredictable, anarchic whole by the incredible Vasile Stanescu
(violin), Jonny Hepbir (guitar), Pete Watson (accordion) and Dan
Sheppard (double bass). Visit the band's website here
Admission
- £7 / £6 (concession)
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SUNDAY 5 OCTOBER
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The
Will Collier Septet
Featuring
Will Collier (double bass), Al Bonney (trumpet), Mike Lesirge (alto
sax), Ben Somers (tenor sax), Bob Dowell (trombone), Ed Sheldrake
(piano), Ben Reynolds (drums). Visit the band's website here
Full
details to follow soon
Admission
- £7 / £6 (concession)
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SUNDAY 2 NOVEMBER
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The
Jones O'Connor Group
Featuring
Paul Jones (piano/synthesisers), Richard Jones (guitar/electronics)
Chris O'Connor (double
bass) and Mark O'Connor (drums). Visit the band's websites here
and here
'One of the
most innovative and exciting bands on the circuit'
The Aberdeen Press and Journal
Full details to follow
soon
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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