The Harry Greene Trio

A return to Milestones for the 19 year old tenor saxophonist and guitarist who already has an enviable local reputation and, as a BBC Young Jazz Musician of the Year 2014 semi-finalist, a burgeoning national one too. Relishing the jazz tradition of improvisation and commanding the respect of leading musicians, Harry's hard-swinging, mature style and bluesy vitality on a series of well-loved standards and jazz classics recalls the Blue Note saxophonists of the 1960's like Hank Mobley, Dexter Gordon and Stanley Turrentine. Featuring Alan Carruthers (bass guitar) and Joe Taylor (drums).

Watch YouTube footage of Harry here and visit his website here

Admission - 7 / 6 (concession)


Josephine Davies's

A brand new trio from the Perrier award winning tenor/soprano saxophonist Josephine Davies. Influenced by the great live trio recordings of Joe Henderson and Julian Arguelles, Satori have created a similar group feeling of freedom and exploration, playful original compositons that harness melody and groove with plenty of room for improvisation. Also featuring the wonderful Dave Whitford (double bass) and Paul Carvis (drums).

Watch YouTube footage of Satori here and visit Josephine Davies's website here

“...consistently inventive...”
Jazzwise magazine

“A truly gifted and imaginative saxophonist, Davies undoubtedly possesses the art of the improviser and has produced an album of exuberant lyricism and consistently engaging tunes”
All About Jazz

“spiritual, spiralling…slow-burning exuberance”
UK Vibe

Admission - 7 / 6 (concession)






The Sirkis/Bialas
International Quartet

Featuring Asaf Sirkis (drums), Sylwia Bialas (vocals), Frank Harrison (piano) and Kevin Glasgow (bass).

Full details to follow.

Admission - 7 / 6 (concession)


The Simon Youngman Quintet

Featuring Simon Youngman (alto sax), Dave Ingham (tenor sax), Tom Harris (piano), Vilem Hais (double bass) and Cath Evans (drums).

Full details to follow.


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)